Despite the fact that I purchased
my etching press way back in 1995,
it wasn’t until this past week that
it finally got bolted to a table so that
I could actually use it..
how’s that for procrastination?
My at-home set up is far from perfect so far.
The kitchen sink is my paper soaking
tray, the countertop is the blotting station,
and the press is in a spare bedroom. I don’t have
a hotplate and decided using my stovetop to
warm my plate may not be the safest thing to do.
I decided to pull a couple of proofs
of this troublesome plate that
I’m working on lately. Just wanted
to see how the most recent changes to the plate
would look like.
This also gave me my first chance to try
Charbonnel “Aqua Wash”, which
is their water soluble etching ink.
The first proof, on the left, didn’t
have enough pressure to print well.
I had to increase the pressure so much that I could
barely turn the handle…definitely not
a good thing for the press!
The proof on the right is better but
not great. At least I can see that I’ll need
to burnish some more and perhaps add more line work.
I love the fact that clean up is a breeze
with the water soluble ink.
After comparing these with previous
oil based proofs, I’ll stick with the oil
ink when it comes time to edition.
13 May 2012
Geez, this etching that I started working on
back in March has been one of
the most frustrating and difficult
plates that I’ve done in years.
It began as an experiment using
sugar lift ground and the saline sulfate etch.
I could tell early on that
the sugar lift/aquatint ground was
fouling biting and wasn’t going to
Here’s the first proof…which looks
nothing like what I intended!
Not one to just give up, I dove right in
and began to add line work, burnishing
and more aquatint.
Here is the latest proof, hot off the press
I have more burnishing to do, and will
also be adding more line work
here and there.
This is the first real print
that I’ve done with the saline etch,
it seems to have a lot of quirks
that I have yet to figure out.
5 May 2012